I missed Revisions at the SANG when it showed a couple of years ago. Not sure why, but possibly because I was a snot-nosed graduate with little interest in revisioning anything. Although, I think also I was overseas. So I was interested in seeing the sequel, Revisions+ which opened at SMAC this week. My excitement was compounded by the promise of a partybus leaving from La Perla in Seapoint, and dropping us out in the country full of snacks and booze. Well, better luck next time, though me and the few old biddies on the bus did sing a moving rendition of 'I rock the party that rocks the party'.

This show, which is from the private collection of Bruce Campbell-Smith, was the leftovers and recent aquisitions that weren't shown on the SANG version. I found it a difficult show to look at critically. The obvious historical importance of the collection, and the dire need to insert alternative stories into the canon of South African art makes it impossible to look at the work, unless you have a thorough education. Which is not to say that it was a bad show. On the contrary, I felt it was excellent. Rather, the importance of the concepts of the show overshadowed the actual work, unless you were familiar with the context of each work. Something which a catalogue would have helped with, but its publication was delayed by last minute changes. Anyway, complaints aside, which I don't think ae specific, but more about the nature and difficulty of history shows, the highlight of the show, for me, was Trevor Makhoba. He's like the Sailor Jerry of South African art. Incredibly hip, with a talent for valid and legible symbols. I couldn't get enough of his darkness.

Labels: bruce campbell-smith, revisions, smac, trevor makhoba